The topic of this article is part of the broader research project on film distribution in the People’s Republic of Poland. An important base for this text is the archival resources of the Film Polski Export and Import Company, established in 1964, the year therefore chosen as the starting point of the analysis. The point of departure is 1975, when important changes in the film import volume occurred. The article comprises of sections dedicated, respectively, to pre-selection of feature films, new releases and films in circulation. The data on the number of released titles show that in almost the entire period under study, the total number of foreign films from other ‘people’s republics’ was lower in any given calendar year than the number of films from capitalist states. However, the fact that more films from communist countries were imported to Poland did not mean that the former had larger audiences and generated greater revenues.
{"title":"Foreign film in Poland, 1964–1975: selection, import and audience. An introduction","authors":"K. Klejsa","doi":"10.14746/i.2022.41.05","DOIUrl":"https://doi.org/10.14746/i.2022.41.05","url":null,"abstract":"The topic of this article is part of the broader research project on film distribution in the People’s Republic of Poland. An important base for this text is the archival resources of the Film Polski Export and Import Company, established in 1964, the year therefore chosen as the starting point of the analysis. The point of departure is 1975, when important changes in the film import volume occurred. The article comprises of sections dedicated, respectively, to pre-selection of feature films, new releases and films in circulation. The data on the number of released titles show that in almost the entire period under study, the total number of foreign films from other ‘people’s republics’ was lower in any given calendar year than the number of films from capitalist states. However, the fact that more films from communist countries were imported to Poland did not mean that the former had larger audiences and generated greater revenues.","PeriodicalId":37086,"journal":{"name":"Images (Poland)","volume":"20 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75220238","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article explores some of the findings from a work-in-progress project that I began working on in 2020 to investigate the retrospective memories of 1980s British audiences surrounding viewing films classified either 15 or 18 by the BBFC, while the participants were underage. I question the so-called victims of censorship that have matured into their 40s and are no longer at the mercy of parents or the classifications of the BBFC in order to investigate the retrospective memories of these adults who were once participating in forbidden viewings as children in the 1980s. This article explores Annette Kuhn’s idea that for audiences, the movie fades from memory to make way for more movies, but it is the life experiences that stay with the viewer. By focusing on underage viewers and films that had been deemed unsuitable for their age, I hope to review Kuhn’s claim, by resituating the film itself as the prominent memory – a memory not replaced by many decades of movie watching since. This article outlines the methodology for the project, before turning to a discussion of participants’ memories of interrupted film viewings. In exploring the dichotomy between memories of viewing conditions and memories of the film themselves, this article then considers memories of the horror genre (and terrifying scenes in other genres), and also the issues of watching sex in films, and the impact of parental restrictions, or watching while with parents.
{"title":"Pause and Rewind: Memories of Age-Inappropriate Film Viewings in the 1980s","authors":"P. Turner","doi":"10.14746/i.2022.41.08","DOIUrl":"https://doi.org/10.14746/i.2022.41.08","url":null,"abstract":"\u0000 \u0000 \u0000This article explores some of the findings from a work-in-progress project that I began working on in 2020 to investigate the retrospective memories of 1980s British audiences surrounding viewing films classified either 15 or 18 by the BBFC, while the participants were underage. I question the so-called victims of censorship that have matured into their 40s and are no longer at the mercy of parents or the classifications of the BBFC in order to investigate the retrospective memories of these adults who were once participating in forbidden viewings as children in the 1980s. This article explores Annette Kuhn’s idea that for audiences, the movie fades from memory to make way for more movies, but it is the life experiences that stay with the viewer. By focusing on underage viewers and films that had been deemed unsuitable for their age, I hope to review Kuhn’s claim, by resituating the film itself as the prominent memory – a memory not replaced by many decades of movie watching since. This article outlines the methodology for the project, before turning to a discussion of participants’ memories of interrupted film viewings. In exploring the dichotomy between memories of viewing conditions and memories of the film themselves, this article then considers memories of the horror genre (and terrifying scenes in other genres), and also the issues of watching sex in films, and the impact of parental restrictions, or watching while with parents. \u0000 \u0000 \u0000","PeriodicalId":37086,"journal":{"name":"Images (Poland)","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77022600","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Research on film culture in the General Government has not yet addressed the issue of Germans going to cinemas. This article aims to ll this gap. But the topic is particularly interesting from a comparative perspective, both in relation to the film offerings in cinemas for Germans and Poles and the film tastes of the two audience groups, which in the period before the outbreak of the World War II were characterized by distinct preference profiles. This article compares the film offer and film preferences of Germans and Poles in Krakow, which was the capital of the General Government. This issue is presented against the background of more recent research on the functioning of cinemas and film distribution in the Third Reich, as well as archival material relating to the General Government.
{"title":"Kina dla Niemców w okupowanym Krakowie na tle kin dla Polaków: polityka repertuarowa i preferencje filmowe widzów","authors":"A. Dębski","doi":"10.14746/i.2022.41.12","DOIUrl":"https://doi.org/10.14746/i.2022.41.12","url":null,"abstract":"\u0000 \u0000 \u0000Research on film culture in the General Government has not yet addressed the issue of Germans going to cinemas. This article aims to ll this gap. But the topic is particularly interesting from a comparative perspective, both in relation to the film offerings in cinemas for Germans and Poles and the film tastes of the two audience groups, which in the period before the outbreak of the World War II were characterized by distinct preference profiles. This article compares the film offer and film preferences of Germans and Poles in Krakow, which was the capital of the General Government. This issue is presented against the background of more recent research on the functioning of cinemas and film distribution in the Third Reich, as well as archival material relating to the General Government. \u0000 \u0000 \u0000","PeriodicalId":37086,"journal":{"name":"Images (Poland)","volume":"25 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78225772","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The article discusses Soviet efforts to export its cinematic production to Germany and France during the 1920s. Aside from advertising the USSR’s achievements abroad, cinema export was an important contribution to early Soviet fund-raising strategies. By examining the opening of the Soviet film industry to international practices and contacts, this article seeks to challenge some assumptions of Soviet particularism in the field of its film export practices. The article begins by exploring the international roots of what was about to become the Soviet film industry and demonstrates how Soviet trade practitioners sought to benefit from them. Then, the article argues that despite several country-specific organisational and material constraints, Soviet strategies and methods of film export to Germany and France paralleled in many ways those of their Western counterparts.
{"title":"What is so (Un)Exceptional About Soviet Cinema? The Pragmatics of Soviet Film Exports to Germany and France in the 1920s","authors":"Nataliya Puchenkina","doi":"10.14746/i.2022.41.03","DOIUrl":"https://doi.org/10.14746/i.2022.41.03","url":null,"abstract":"\u0000 \u0000 \u0000The article discusses Soviet efforts to export its cinematic production to Germany and France during the 1920s. Aside from advertising the USSR’s achievements abroad, cinema export was an important contribution to early Soviet fund-raising strategies. By examining the opening of the Soviet film industry to international practices and contacts, this article seeks to challenge some assumptions of Soviet particularism in the field of its film export practices. The article begins by exploring the international roots of what was about to become the Soviet film industry and demonstrates how Soviet trade practitioners sought to benefit from them. Then, the article argues that despite several country-specific organisational and material constraints, Soviet strategies and methods of film export to Germany and France paralleled in many ways those of their Western counterparts. \u0000 \u0000 \u0000","PeriodicalId":37086,"journal":{"name":"Images (Poland)","volume":"30 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90042381","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The subject of this article is an analysis of the distribution, attendance results and reception of feature films made by the Profil Film Unit in 1982–1989. The Profil Film Unit was the second film group (alongside Iluzjon, headed by Czesław Petelski) to be reactivated by the cinematography management after martial law was declared in Poland. The artistic director of Profil, Bohdan Poręba, enjoyed the trust and support of the Party authorities, linking his allegiance to communist dogma to his activity in the nationalist ‘Grunwald’ Patriotic Association. Profil’s productions were boycotted by a large part of the acting community (also due to an appeal by the Solidarity Stage and Film Artists published in the newspaper “Tygodnik Mazowsze”), and some of the films made by this unit in the 1980s clearly followed the guidelines of the cultural policy of the Polish United Workers’ Party. The following questions will be answered: How did the political circumstances outlined above affect the distribution and reception of the films made by Profil? What attendance results did the films produced by Profil achieve and to what extent did they differ from the cinema ticket revenues of the films produced by other groups? How was the activity of the Profil Film Unit and the financial results achieved evaluated by the Supreme Board of Film Affairs? How were the productions of Profil received by film critics in the daily press and magazines?
{"title":"The audience and reception of the films from the Profil Film Unit in 1982-1989","authors":"Jarosław Grzechowiak","doi":"10.14746/i.2022.41.07","DOIUrl":"https://doi.org/10.14746/i.2022.41.07","url":null,"abstract":"\u0000 \u0000 \u0000The subject of this article is an analysis of the distribution, attendance results and reception of feature films made by the Profil Film Unit in 1982–1989. The Profil Film Unit was the second film group (alongside Iluzjon, headed by Czesław Petelski) to be reactivated by the cinematography management after martial law was declared in Poland. The artistic director of Profil, Bohdan Poręba, enjoyed the trust and support of the Party authorities, linking his allegiance to communist dogma to his activity in the nationalist ‘Grunwald’ Patriotic Association. Profil’s productions were boycotted by a large part of the acting community (also due to an appeal by the Solidarity Stage and Film Artists published in the newspaper “Tygodnik Mazowsze”), and some of the films made by this unit in the 1980s clearly followed the guidelines of the cultural policy of the Polish United Workers’ Party. The following questions will be answered: How did the political circumstances outlined above affect the distribution and reception of the films made by Profil? What attendance results did the films produced by Profil achieve and to what extent did they differ from the cinema ticket revenues of the films produced by other groups? How was the activity of the Profil Film Unit and the financial results achieved evaluated by the Supreme Board of Film Affairs? How were the productions of Profil received by film critics in the daily press and magazines? \u0000 \u0000 \u0000","PeriodicalId":37086,"journal":{"name":"Images (Poland)","volume":"10 1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77591933","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The Irzykowski Film Studio was founded in 1981 as an institution that allowed young filmmakers to start their careers directly after graduating from the Film School. The studio could produce medium-length and short feature films and documentaries as well as animation. Nevertheless, all these types of films, according to the statute confirmed by the minister, were not to be officially cinema distributed, since they were supposed to be treated as a film exercise, a kind of practice run. Finally, it turned out that the Irzykowski Film Studio productions were regarded as fully fledged films that could compete with films produced by Film Units (i.e., the professional organizational entities of the Polish film production system at the time) or short film studios. What is not without significance, most films (not to say: all) were politically controversial. Therefore, the leaders of the Studio decided to show films to the audience, but they could not do it officially by applying for referral to cinema distribution. In connection with this, they were shown at small film festivals, inner (unofficial) screenings, and illegally distributed on VHS tapes. By extension, the range of distribution was narrow, but, curiously enough, the films were attracting a lot of interest from film critics, audiences and... state authorities. The aim of this paper is to analyze the alternative distribution process that occurred at the Irzykowski Film Studio. What films were shown at festivals, at internal screenings, and which were illegally copied onto VHS tapes? Had all the films shown been censored? How did state censorship react to test screenings with the audience? How did the critics and audience perceive these films? Did the presence of films at festivals influence their cinema distribution? And finally: how did the promotion and festival distribution of these films affect the perception of the Irzykowski Film Studio among the state authorities?
{"title":"Alternative distribution and its role in the promotion of films produced by the Irzykowski Film Studio between 1981–1984","authors":"Emil Sowiński","doi":"10.14746/i.2022.41.06","DOIUrl":"https://doi.org/10.14746/i.2022.41.06","url":null,"abstract":"\u0000\u0000\u0000The Irzykowski Film Studio was founded in 1981 as an institution that allowed young filmmakers to start their careers directly after graduating from the Film School. The studio could produce medium-length and short feature films and documentaries as well as animation. Nevertheless, all these types of films, according to the statute confirmed by the minister, were not to be officially cinema distributed, since they were supposed to be treated as a film exercise, a kind of practice run. Finally, it turned out that the Irzykowski Film Studio productions were regarded as fully fledged films that could compete with films produced by Film Units (i.e., the professional organizational entities of the Polish film production system at the time) or short film studios. What is not without significance, most films (not to say: all) were politically controversial. Therefore, the leaders of the Studio decided to show films to the audience, but they could not do it officially by applying for referral to cinema distribution. In connection with this, they were shown at small film festivals, inner (unofficial) screenings, and illegally distributed on VHS tapes. By extension, the range of distribution was narrow, but, curiously enough, the films were attracting a lot of interest from film critics, audiences and... state authorities. The aim of this paper is to analyze the alternative distribution process that occurred at the Irzykowski Film Studio. What films were shown at festivals, at internal screenings, and which were illegally copied onto VHS tapes? Had all the films shown been censored? How did state censorship react to test screenings with the audience? How did the critics and audience perceive these films? Did the presence of films at festivals influence their cinema distribution? And finally: how did the promotion and festival distribution of these films affect the perception of the Irzykowski Film Studio among the state authorities?\u0000\u0000\u0000","PeriodicalId":37086,"journal":{"name":"Images (Poland)","volume":"20 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83053477","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The subject of this article is the distribution of foreign films in the People’s Republic of Croatia in 1944-1963 against the background of Yugoslavia’s cultural policy. The author considers as foreign films those that were not made in Yugoslavia or in the production or co-production of Yugoslav studios. The article aims to show in a cross-sectionally way the trends that led to the import of films into Yugoslavia from specific countries. These tendencies were shaped primarily by political factors, which are also pointed out in the article.
{"title":"Dystrybucja filmów zagranicznych w Ludowej Republice Chorwacji na tle polityki kulturalnej Jugosławii (1944-1963)","authors":"Justyna Gluba","doi":"10.14746/i.2022.41.13","DOIUrl":"https://doi.org/10.14746/i.2022.41.13","url":null,"abstract":"\u0000 \u0000 \u0000The subject of this article is the distribution of foreign films in the People’s Republic of Croatia in 1944-1963 against the background of Yugoslavia’s cultural policy. The author considers as foreign films those that were not made in Yugoslavia or in the production or co-production of Yugoslav studios. The article aims to show in a cross-sectionally way the trends that led to the import of films into Yugoslavia from specific countries. These tendencies were shaped primarily by political factors, which are also pointed out in the article. \u0000 \u0000 \u0000","PeriodicalId":37086,"journal":{"name":"Images (Poland)","volume":"72 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86299294","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The text discusses the social understanding of the film canon. The analyses is based on the results of the social research “Poles about Polish films. Opinions of Poles on Polish cinema and their attitudes towards Polish film production” conducted in 2019. The research findings show how Polish audiences think about the Polish film canon and how they define it, referring to their own film experiences, attitudes towards Polish productions and to beliefs about the influence of Polish cinema on culture.
{"title":"Rodzima klasyka filmowa w świadomości zbiorowej polskich widzów. Opinie Polaków o polskich filmach i ich postawy wobec polskiej produkcji filmowej","authors":"B. Giza, Michał Wenzel","doi":"10.14746/i.2022.41.14","DOIUrl":"https://doi.org/10.14746/i.2022.41.14","url":null,"abstract":"\u0000 \u0000 \u0000The text discusses the social understanding of the film canon. The analyses is based on the results of the social research “Poles about Polish films. Opinions of Poles on Polish cinema and their attitudes towards Polish film production” conducted in 2019. The research findings show how Polish audiences think about the Polish film canon and how they define it, referring to their own film experiences, attitudes towards Polish productions and to beliefs about the influence of Polish cinema on culture. \u0000 \u0000 \u0000","PeriodicalId":37086,"journal":{"name":"Images (Poland)","volume":"110 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86232968","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The distribution sector, contrary to film production, was not subsidized in 21st-century Poland from public funds, with only very rare exceptions. The distribution sector demands high levels of investment with regard to advertising movies and the necessity of building awareness of the titles before releasing them. The investment could be profitable but, in the case of a box office flop, becomes a permanent loss. Operating in the distribution sector is inevitably a high-risk endeavour. Predicting box office results is the key element of risk assessment made by distributors. The specificity of the film market and future results of the movies seem to be determined by uncertainty and unpredictability, according to William Goldman’s famous dictum nobody knows anything. However, distributors were able to develop a few ways to assess future box office results, at least roughly. The tendency to establish franchises and whole universes, the role of the opening weekend, the types of weekly results trajectories and the impact of major festival awards for the box office result are described in the article. In the case of the latter, the brand and capacity of the distributor seems to be more relevant than the award itself, which leads to conclusions about the crucial and probably still underestimated role of the distribution sector in the cinema.
{"title":"Jak działać, gdy „nobody knows anything”? Prawidłowości pośród wyników frekwencyjnych filmów w dystrybucji kinowej","authors":"M. Adamczak, Sławomir Salomon","doi":"10.14746/i.2022.41.15","DOIUrl":"https://doi.org/10.14746/i.2022.41.15","url":null,"abstract":"\u0000 \u0000 \u0000The distribution sector, contrary to film production, was not subsidized in 21st-century Poland from public funds, with only very rare exceptions. The distribution sector demands high levels of investment with regard to advertising movies and the necessity of building awareness of the titles before releasing them. The investment could be profitable but, in the case of a box office flop, becomes a permanent loss. Operating in the distribution sector is inevitably a high-risk endeavour. Predicting box office results is the key element of risk assessment made by distributors. The specificity of the film market and future results of the movies seem to be determined by uncertainty and unpredictability, according to William Goldman’s famous dictum nobody knows anything. However, distributors were able to develop a few ways to assess future box office results, at least roughly. The tendency to establish franchises and whole universes, the role of the opening weekend, the types of weekly results trajectories and the impact of major festival awards for the box office result are described in the article. In the case of the latter, the brand and capacity of the distributor seems to be more relevant than the award itself, which leads to conclusions about the crucial and probably still underestimated role of the distribution sector in the cinema. \u0000 \u0000 \u0000","PeriodicalId":37086,"journal":{"name":"Images (Poland)","volume":"19 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81474237","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The article is an attempt to interpret the cinema experience from the perspective of contemporary theories of somatic reception. Attention is drawn to the formal aspect of two examples of cinema experiences by a contemporary Polish writer (Krystyna Kofta). An important element of her work is sharing impressions, especially in relation to the description of everyday life. The analysis includes the comparison of two cinema episodes – a girl fascinated by the first encounter with this medium and an adult woman terrifed by the claustrophobic atmosphere of the cinema.
{"title":"Pierwszy raz w ciemnym kinie - filmowe reminiscencje w twórczości Krystyny Kofty","authors":"K. Witczak","doi":"10.14746/i.2022.41.17","DOIUrl":"https://doi.org/10.14746/i.2022.41.17","url":null,"abstract":"The article is an attempt to interpret the cinema experience from the perspective of contemporary theories of somatic reception. Attention is drawn to the formal aspect of two examples of cinema experiences by a contemporary Polish writer (Krystyna Kofta). An important element of her work is sharing impressions, especially in relation to the description of everyday life. The analysis includes the comparison of two cinema episodes – a girl fascinated by the first encounter with this medium and an adult woman terrifed by the claustrophobic atmosphere of the cinema.","PeriodicalId":37086,"journal":{"name":"Images (Poland)","volume":"24 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77235910","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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